Day in Pop Report for 11/14/2014
For fans of "Break Free," Grande's smash hit with Zedd from new album My Everything, "All My Love" will be a welcome and seamless transition. On the verse and chorus, it's fairly standard Grande, the 21-year-old singing of how the object of her desire's love "is worth the chase." But as the singer croons the song's title, she's joined by jaunty, pulsating electronic blips from Major Lazer, which is made up of producers Diplo and Switch. Together, the trio helps to create a track that fits quite snugly into the aesthetic Lorde's created for her curated soundtrack. Listen to the track here.
The band's spokesperson said in a statement, "George and the band are devastated by this news and so it is with much regret that the tour is cancelled until further notice. Refunds are available at the point of purchase." The members of the band issued this statement, "We are hoping we can reschedule the concerts for next year, and hopefully George's problem will be resolved," and added, "To our fans we wish to thank you for your loyalty and know that we love you all."
In fact, it was someone whose booty still makes the rounds to this day. In an interview with TMZ, the rapper said that Jennifer Lopez was the inspiration for "Baby Got Back," particularly during her time on In Living Color as one of the show's Fly Girl dancers. He was consulted about his thoughts on buns after Kim Kardashian's new Paper Mag cover that finds her derriere fully exposed for the camera.Read more here.
"Meltdown," the newest taste of The Hunger Games: Mockingjay - Pt 1 soundtrack, again features Lorde, the disc's overall curator, as a featured artist, holding down the hook. But here, it's Stromae, the 29-year-old Belgian singer-songwriter and producer, who mans the track. He's joined by Pusha T and Q-Tip, both of whom toss out quick verses after the initial chorus. There's also HAIM, who pop up toward the song's end to sing on the outro, the trio's voices rising like a choir. The song is yet another example of Lorde's apparent power to bring in quite the motley crew of guest performers for the album as a whole; already, a Chemical Brothers track featuring Lorde and Miguel has been released, as has a Kanye West remix of Lorde's "Yellow Flicker Beat," the lead single from the project. Listen to the track here.
Thursday, the producer shared a 90-second teaser of the song, also produced by Afrojack and featuring singer-songwriter Bebe Rexha. Together, this unimpeachable crew has delivered a Caribbean-inflected EDM banger, with most of the island flavor courtesy of native Trinidadian Minaj. "Yes, I do the cookin', yes I do the cleanin', yes, I keep the nana real sweet for your eatin'," she roars. "Yes, you be the boss and yes, I be receptin', because you be the boss and it's game that you spitting." Check out the preview and read more here.
"I love Iggy Azalea, I love HAIM," she said. Why those choices? "The things that I try to really focus on when bringing out people as surprise guests is what do my fans really want to see, what would they lose their minds over?" Azalea came up another time in the interview when Swift spoke on the "feminist issue" of people not taking female songwriters seriously, assuming that they're not entirely responsible for their work. "In the beginning, I liked to think that we were all on the same playing field," she said. "And then it became pretty obvious to me that when you have people sort of questioning the validity of a female songwriter, or making it seem like it's somehow unacceptable to write songs about your real emotions-that it somehow makes you irrational and overemotional-seeing that over the years changed my view." Read more here.
"Eric and his band know how to rock harder than many rock 'n roll bands and his music and the words behind it have a way of reaching fans way beyond the usual borders of country music," said ACL executive producer Terry Lickona in a press release. "He's a perfect fit for ACL." While fans may have to wait until the weekend to see the entire concert, PBS is offering up a preview of his performance of "Springsteen." The GRAMMY-nominated song has fans in the crowd singing along word for word. Halfway through the song, Church stopped to address the crowd. "There's a line in this song about when a melody and a memory connect with each other," he said. "That to me in an essence is what music is about. No matter how old you get, no matter where you are, when you hear that song, you're right back where you were the first time you heard that song. I can tell you this, no matter where I go in life from right here, I'm always gonna remember Austin City Limits tonight. For that, I thank you. Now, I wanna hear you!" Watch the preview here.
According to White, the event which will feature "a combination of the world's greatest snowboarders, skiers and skateboarders, as well as live performances of some of the top music acts." The two day event will include performances by Kendrick Lamar, Steve Aoki, Diplo, Edward Sharpe and the Magnetic Zeros, Phantogram, Portugal. The Man, Sleigh Bells, The Black Lips, Cults, Surfer Blood, METZ and White's own band, Bad Things. During the day, the focus will fall on competition including snowboarding, skiing, skateboarding and BMX, as well as an interactive kids area, fashion show, technology, cuisine, gaming and art. Read more here.
Over a decade later, the future still looks to be populated by silver space suits, appearing and disappearing cubes of matter and is visible mostly in stark black and white. The future-retro costuming trend continues midway through the clip when Banks dons a body suit and nipple covering, evoking images of Lil Kim's famous 1999 VMA outfit that scandalized Diana Ross. There's also a costume call-back to Missy Elliott's famous trash bag outfit from 1997′s "The Rain," appropriated to be a little more figure-flattering to Banks and modernized. It's a clever slew of looks that pay tribute to Banks' hip-hop heroes but stay fresh enough for those who don't remember the fairly recent past to have a current-looking piece of video eye candy to watch. Check out the video here.
"The response has been humbling at the very least," he said of the turnout for his current tour. "It's been staggering. I can't tell you how impressed I am to see the people I hoped I would see again and then the other half of the arena are kids who haven't even been born yet [before his retirement] and they know every word and are singing at the top of their lungs. It's pretty neat." How do you keep falling onstage? I don't want to give the show away, but the whole floor moves at one point in the show. When that starts to happen you start to get used to it so the speed isn't fast enough for you. Each time I've ask for the speed to be picked up, I did it once in Chicago and I bit it. And then I did it once in Lexington and I bit it. I gotta tell you, it's one of those things where I'm lucky if I don't bite it five times a night. What was going through your mind right before your first show in Chicago? I kept looking at Trisha [Yearwood]. We're looking at each other and I said, 'Why am I scared to death right now? She goes, 'I am so nervous.' It was a good thing. You were scared to death but I swear to you 90 seconds into it you go, 'Oh, I remember this!' It just started being like a hot bath. It was just fantastic. Read more from the interview here.
The song is highly self-referential, with Juvenile speaking directly about the signing to the label, calling Weezy his brother, and noting "I'm glad they brought me back." That would be London on Da Trak behind the production. Juvenile's history with Cash Money is as long as it is deep, with his 1998 album 400 Degreez earning the label its first platinum LP. "It feels like coming home," said Juvenile in a statement. "I'd always bump into 'Slim' and 'Baby' over the last few years. If they had an event or something they wanted me to be a part of, I would be there in good spirit and faith. We were always talking. That just led to us sharing more of a collective vision. Now, we're here. It's exciting. I want to reinvent myself, and they're giving me the stage to do that. I didn't sign a record deal where I'm going to leave in two or three years. "I'm retiring at Cash Money. I'm never leaving." Listen to the new track here.
During her BBC Radio 1 Live Lounge set, Lorde treated listeners to her take on the Late Nights YG-assisted cut produced by DJ Mustard. The silky song isn't that far off sonically f from Lorde's brood-pop hit "Royals," at least relative to the other covers she's done, so it shouldn't come as a surprise that the New Zealand pop star sounded totally in her zone. With help from her backing band, Lorde added her signature spaced-out production and smoky vocals to Jeremih's song. Check out her cover of Don't Tell 'Em here.
He's representing both New York and the South in one fell swoop. While the original featured 2 Chainz and fellow Bay Area spitter Sage The Gemini, they've been replaced by Yo Gotti's best attempt at cultural tourism "Fell in love with a b***h from Oakland/Ain't got f**ked like this before," he raps. "Ya made me buy a crib in the Bay/Yeah, she introduced me to that Mac Dre." Montana, meanwhile, sings the praises of a woman who is "a model but a stripper on a friday." He also throws in a clever pun reference-"Bend it over, Chris Lighty I'mma violate," is a play on the owner of the classic Violator hip-hop label. Listen here.
This will be 1D's first U.S. television special, and as Billboard suggests, could harken back to the classic Christmas TV specials of decade's past, like the famed Star Wars Holiday Special of 1978. But for now, it is anyone's guess as to the actual content of the special, as details are few and far between. Basically, just because it is set to air on December 23 doesn't mean it will actually be holiday-related. It could just be a One Direction concert special or something. Read more here.
"Watch all those dormant arise, and put all your palms in the sky," Haze spits, speaking in grandiose terms befitting the stomping beat. "No more falling to pressure, no more villain acceptance." The studio version of the track follows the song's live debut back in March. The song is not coming off a proper album, but rather a forthcoming mixtape called VS (Other People's Heartache, Pt 3). In a release, Bastille frontman Dan Smith explains the difference: ""I love having the side lane of our mixtapes as a place where we can make music people might not expect. This mixtape is very much a reflection of our 2014." Listen here here.
"We were really, really drunk, and we went back to his house," she tells Radio.com. "I laid on top of his piano and he played this amazing piece of music and we started writing 'Kingdom.' It just kind of like sat as this weird, drunken voice note on our phones for a while." It wasn't until Lorde-who Charli calls by her given name Ella-called her up and asked her to lend a song to the soundtrack, which she not only appears on but also curated, that Charli figured out what to do with it. Lorde even upped the stakes a bit, asking Charli if she wanted to "put a legend on the song as well," suggesting a few different people including Duran Duran's Simon Le Bon, who ended up on the track, but unfortunately did not end up in the studio with Charli. Read more here.
Williams shot back-to-back 3-pointers in the game and credited the sneakers with his performance. Drake reposted the photo, adding, "RP from @louwillville went off in the OVO Fest Gold 3′s! Louuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu." Amir Johnson of the Raptors also wore sneakers from Drake during the game, a pair of "Drake vs. Lil Wayne" Air Jordan IIIs, also in custom gold. More including the photo here.
O'Connor said the two had to split because of it, saying the two "both fell equally in love" but that she's "[b]een secretly f**king miserable as a motherf**ker since the second it started" and vowed to "[n]ever, ever messing with someone else's fella again." "Its [sic] the most disgusting thing a woman could possibly do to another woman," she wrote. "And it smacks of zero self-esteem. So, back to the therapist for Sinead. For which unfairly, I may not invoice my parents." Read more here.
A phone memo called "Santijam" arrived in an email from my good friends, Tyler Duncan and Theo Katzman. The memo contained an instrumental creation that featured a catchy hand clapping pattern, chords on the keyboard, and an intricate synth sound Tyler had created. I took a listen to "Santijam" and immediately started hearing melodies in my head. Within a few hours, I had recorded several melodies to "Santijam" with my phone and sent a new voice memo back. This process continued (back and forth emailing) for a couple weeks. At this point, it was February of 2014 and Theo, Tyler, and I were coming up with "nuggets" of music for my upcoming album to eventually turn into songs. I was in Massachusetts and they were in Michigan and together, we were hoping to finish 10 new songs in a few weeks (crazy, right?!). Many things inspired these nuggets: dreams, fears, loved ones, hope, loss, other songs, the rhythm of coffee-making, and the list goes on. "Santijam" was partially inspired by the production on the album, Santogold, thus earning the name, Santijam! As time went by, our collection of song ideas grew. Halfway through March, Tyler and Theo made the trek from Ann Arbor, Mi to Amherst, MA with a carload full of gear and set up shop in my cozy (and somewhat drafty) apartment, so we could finish as many songs as possible. Over the course of the following weeks, the songs developed into new ideas and "Santijam" transitioned into "Face the Fire" - a song about the drive inside each of succeed. When properly handled, this fire can be a very positive force, but when abused - it can turn people into really sad or ugly beings. I wanted to capture the complexity of my own ambitions and how they pul me, as well as my intention to channel this drive in a positive way. Before deciding on "fire" as the entire metaphor for the song, we came up with many ideas that didn't stick, like facing the dragon (sounded kind of Dungeons and Dragon-ey - which is cool, but didn't fit) and firefighters (which sounded super weird when sung). We stayed up late into the night, working out concepts and phrasing, then lo and behold, "Face the Fire" was complete! It's actually now the title track for the upcoming album. And that's the story of "Face the Fire!" Hearing is believing. Now that you know the story behind the song, listen for yourself and learn more about the album and check out her current U.S. tour dates right here!
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